The Timeless Dance of ‘Mozartiana’: A Tribute to Balanchine’s Vision

The Timeless Dance of “Mozartiana”

There exists a moment for exuberant dancing, and another for heartfelt applause. While these two expressions of appreciation can sometimes occur simultaneously, it is not always the most appropriate scenario. George Balanchine, the visionary choreographer behind the New York City Ballet, perceived the theater as a sacred space. He once remarked, ā€œYou donā€™t applaud in the middle of a sermon or choral hymn,ā€ as noted in a book detailing the creation of ā€œMozartiana,ā€ his final significant work before his passing.

Debuting at the Tchaikovsky Festival in 1981, ā€œMozartianaā€ is a profound ballet set to Suite No. 4, which is Tchaikovskyā€™s own orchestration of several brief compositions by Mozart. The ballet opens with a ā€œpreghiera,ā€ or prayer, exuding a soulful quality akin to a gently shimmering dance hymn, with the dancer raising her arms in devotion.

At the beginning of ā€œMozartiana,ā€ a female principal dancer, originally portrayed by the legendary Suzanne Farrell, is accompanied by four young dancers, each embodying youthful reflections of her. This arrangement instantly imbues the stage with a sense of tranquility. Balanchine himself described this moment: ā€œLike a picture ā€” still, like in a church.ā€

Returning to City Balletā€™s repertoire this fall, ā€œMozartianaā€ graced the seasonā€™s exceptional program, ā€œBalanchine + Ratmansky,ā€ shining like a ray of light illuminating the stage. The ballet is a stunning tapestry woven with threads of melancholy, delicacy, and vivacity. As the lead dancer rises en pointe to execute intricate bourrĆ©e steps, she glides across the stage, appearing almost ethereal, as if dancing on a mere whisper of air.

With young students sharing the spotlight alongside seasoned professionals, ā€œMozartianaā€ beautifully illustrates the transmission of ballet from one generation to the next. This transfer does not rely on technology but rather on committed bodies and rigorous training. Over the years, dancers cultivate the ability to transform the impossible into not just achievable feats but natural expressions of art. Mira Nadon, in her debut as the lead, embraced her role with an authenticity that captured her age and narrative, embodying her version of ā€œMozartiana.ā€

Nadon, under the guidance of Farrell, delivered a remarkable performance. The pure innocence she brought to her preghiera was nothing short of breathtaking. In her variations, she was assertive yet free from any hint of artifice. As the music brightened, her footwork quickened, her arms moved with lush grace, and she daringly leaned beyond the confines of safety whenever a musical note offered a moment of breath. At one point, she pushed her balance to such an extent that she tumbled to the floor, only to spring back up effortlessly, as if liberated, like a cloud lifting to reveal a clear sky.

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